and faulty, and stood in need of occasional correction by superior authority. We know also that the solemn service of the Temple and of the Synagogue furnished models and elements for Christian worship-more especially in singing hymns of praise and thanksgiving in the intervals of their devotion. The purer parts of the Jewish ritual thus naturally passed on into a Christian form, and were gradually incorporated with the authorised services of the Church-just as Christianity itself was but the maturity of the earlier revelation: and how prominent a part sacred music held in the Temple worship, and how successfully it was cultivated by that people from the time of David downwards, is known to every student of sacred history.

In this particular indeed that people stands proudly distinguished among the most renowned nations of antiquity. Their music, as well as their law, bespoke a divine original. Unlike the wild and impassioned notes, or the uncouth and barbarous strains, which urged heathen warriors on to deeds of slaughter and conquest, there was in the sacred music of the Jews a constant reference to the one supreme God, whose chosen people they were, and a devout appeal to all the perfections of his Being. Unpolluted by the mixture of anything impure, or light, or effeminate, it always assumed a serious, elevated, and generally a sublime character-tending to chasten the pleasurable emotion of the senses, and to restrain the licence to which the art is liable, when directed only to the excitement of human feelings, undisciplined by reverential awe of God. Of this pure and divine character

hardly any specimen seems to have existed among the other Eastern nations, however refined their manners, and however great their excellence in the arts which minister to the embellishment or elegance of life.

Hence doubtless it was, that in the mournful period of their Captivity their inhuman conquerors made the unfeeling demand, "Sing us one of the songs of Sion," a demand at which all the tenderest feelings of their nature, and their most cherished habits of mind revolted. It seemed like an insult, not only to themselves, but to the Almighty whom they served, to call for the most inspiring parts of his worship, to gratify the curiosity or to furnish the amusement of a profane and polluted people. They scorned to act the humiliating part of ministering to the mirth or revelry of their enemies, by compositions which not only recalled the happiness they had lost, but which were dedicated to the honour of that Being whom they had indeed offended, but by whose mercy they hoped one day to be restored to the land of their fathers.

Such probably were the feelings which prompted the affecting apostrophe, "How shall we sing the Lord's song in a strange land?" In order to give full effect to that song, there must be a kindred feeling supposed to animate the assembly to which it is addressed-a consciousness that the hearers are possessed with the same sentiments of adoration and love -all inspired with reverence and devotion towards the same Lord, and ready to swell the chorus of thanksgiving and praise.

It seems then but natural that this part of the Jewish worship should have passed into the Christian forms of worship, almost without special injunction or appointment-as a continuation merely of what our Saviour and his Apostles had hallowed by their example--and that in process of time it should not have been confined to the ancient Hebrew Psalms, but gradually enriched and improved, as the whole economy of the Old Testament was more and more developed, and moulded into a Christian form and character.

Yet this, like every other gift, even when exercised with the best intentions, is liable to abuse. It stands in need not only of cultivation and discipline, that it may attain its proper end, that of elevating the thoughts and purifying them from all unholy mixture, but inasmuch as nothing tends more to excite the imagination and the passions, there is great need of controul and regulation-great need of some authority to moderate the indulgence even of religious feelings, which may otherwise imperceptibly migrate into enthusiasm, and cause, as we know was sometimes the case in the infancy of the Church, confusion and disorder, instead of mutual edification.

How frequent are St. Paul's admonitions upon this subject it is unnecessary to point out. To the Corinthians*, to the Colossians †, to the Ephesians ‡, the same reproof is more than once given. Among all of them the same error appears occasionally to have prevailed, and happily for us, to have called forth from the Apostle not only reproof, but precepts applicable

* 1 Cor. xiv, 15, 26, 32. + Col. iii, 16. Ephes. v, 19.

to the regulation of the Church in all succeeding ages. Happily for us, I say, because if these disorders had manifested themselves only in recent times, we might have been at a loss how to treat them. Some might have imagined that fervour of manner and impassioned tones were symptoms of genuine faith and superior piety, and ought not to be subject to man's correction -or that to restrain these impulses, these aspirations after extacy, was an ungodly attempt to deaden the zeal of devout persons, and to confine the free motions of the Spirit within earthly authority. But melancholy experience teaches us that religious fervour may be, and often is, indulged to excess, and may be led astray; deceiving others as well as ourselves-and that sobriety and discretion in religious exercises, are not less requisite than in regulating all the practical duties of life.

There is however a fault of a very different, or rather of an opposite kind, which upon an occasion like the present, when we are met to support an Institution designed for the improvement of sacred Music in our parish churches, it may be well to notice. That much ought to be done for the encouragement of parochial psalmody, and much care bestowed both upon the selection of music, and the correctness of its execution, hardly any one will deny-and the greatest praise is due to those who have devised a system of instruction for the attainment of this object. In the prosecution of their plan I doubt not that its benevolent authors have in view the extension of congregational singing, as a consequence that will naturally follow from exciting a taste for sacred music, instrumental as well as vocal. Permit me then to observe that there

is often a tendency in those who acquire a fondness for the art, to aim at a display of skill, or of variety, which insensibly weakens the devotional feeling in the generality of a mixed congregation.

It is impossible to prescribe beforehand any positive rules for the extent to which skill, or execution, or variety, may be usefully studied. Much will depend upon the quality of the congregation and the degree of proficiency they may have attained. I content myself therefore with appealing to the experience of all who hear me, whether they have not often been offended at a performance which aimed rather at gaining admiration, than at assisting and encouraging uninstructed persons to take part in the same heavenly exercise— and whether instrumental music has not often in their judgment exceeded its due measure, superseding rather than guiding and supporting the voice of those who sing. I advert to the fault merely in the way of caution, not as a natural or probable, but as a possible consequence of a zealous cultivation of this art-an art which no one esteems more than myself, as one of the most powerful as well as the most enchanting auxiliaries to pure devotion. Subject to such caution, I have no doubt that the beneficial effects of this discipline will soon be felt in every parish disposed to profit by it, if only two or three individuals will come for ward, and shew that they earnestly desire to improve this beautiful part of social worship.

Should some expence be necessary, surely if good-will be not wanting, a sufficiency will easily be raised to meet the moderate requirements of a parochial